“We make places of strangeness so we can facilitate a state of enchantment. This enables us to engage with our desires and fears in the safety of the magical unknown.”

(Loose quote from Kristina Andersen talk, “Making Magic Machines or Practising at the Unknown”, Medea research centre, Sweden, 2012)

Karla Pringle, Where the waves begin, 2019

Karla Pringle is a re/emerging artist living on Kabi Kabi Country, Sunshine Coast, Queensland, her birthplace, and the birthplace of her colonial ancestors.  She works to mend ancestral, colonial and patriarchal violence held in her body and the land she lives in. She hopes to re-pair rapport and intelligence between bodies of land and flesh. She uses a wide array of material methods, which are uniquely determined by her conversations and collaborations with place and its interconnected inhabitants. 

She finished her studies in Melbourne in the mid 2000’s and began exhibiting. In 2009 with her first pregnancy, onset C-PTSD left her unable to walk. She spent 10 years learning to manage her health and movement, her current practice is informed by this intensive process. She resumed exhibiting in Melbourne in 2019.

Forces of nature; currents, patterns, sound waves, seismic activity, and our psycho-geographic responses to these systems inform her investigations. Her practice often refers to, affect, colonialism, mental health and women’s body politics.  Domestic crafts, embellishment, home remedies and spiritualism: function as sites of slippage, subversion and rebellion.

Her self generative practice, garners subconscious bodily actions and material experimentation to create conversations with place. She uses a range of mediums and considers her work to be a collaboration between her senses, her biome, and the micro fauna inhabiting both her body and the environment. 

She maintains a daily practice of embodied sketching using a combination of sensorimotor mark-making and automatic drawing. This drawing, features throughout her work and is informed by archaeoacoustic studies, environmental philosophy, trauma therapies, various scrying and divination practices, intuition, and surrealist traditions.

By weaving materials through replicative devices, and blending ‘mean’ and digital times, she hopes to create a non normative space/time. This space allows the ineffable histories, including that of her feminine body, to be written into places it was expected to remain unseen and untold.